Japan and Japanisme

 Chapter 18: Japan and Japanisme

The study of historical Japan and Asian architecture and furnishing was more fascinating that it lets on. Seeing and understanding the developments of furniture, throughout the ages was more eye opening that expected. This led to the text answering questions I didn’t even know I had, but still left room to the imagination and interpretation of the details within the furnishings.

The Imperial Villa at Katsura

One of the most interesting things Henchman touches on is the curiosity of the Imperial Villa at Katsura. With its focus on the great hall and symmetrical complex, it’s almost forbidden to see other grand parts of the place housing asymmetrical, informal, and introspective details that contrast the main home.

The Detached Villa, for example, does just that. Being construct over 50 years, the house is a country pleasure home with tea pavilions and accessible through paths of stepping stones. The view of carefully controlled and focuses primarily on the surrounding gardens within the villa, which plays to the serenity of the environment. Many architects and scholars compare these tea pavilions to vestigial huts with the unpolished and unfinished wood appearing from tree bark.

The complex itself is made up of three parts, or shoins, referred to as the Old Shoin, the New Goten, and the Shokintei Pavilion. The Old Shoin was the original structure and consists of multiple layers of design, some of which include pitched roofs and paper screens known as shoji. Through these details the simplicity of the complex at Katsura relates form and materials. This is greatly enhanced through the understanding that the majority of materials were left plain and unpolished or undressed. The Shokintei Pavilion, located separate from the complex, lies across the pond and can only be accessed by a riverboat. This pavilion is comprised of multiple rooms that are composed of varying modular elements.

The New Goten is the third shoin at Katsura and features a tea-and-food-preparation area known as a dais, which is raised and proportioned to have three mats that are trimmed with edging. It should be noted, however, that wherever the floor steps up, the ceiling is dropped down. In addition to this, the staggering placement of shelves, largely referred to as the Katsura shelf, implement the fact that the style was of the post-fire Edo period. Opaque, comb-shaped windows allow light to shine through and into the space, and the variation of both sliding doors and hinged doors shows the evolution of style during the time it was built.

Conclusion

Throughout the chapter, it is evident the large amount of influence one structure can have on a whole country. The Imperial Villa at Katsura is just one example of that, however, it’s not the only example. Looking at all historic periods of Japanese architecture and interior spacing shows the relevance of change and the process by which it can be done effectively.

Comments

  1. Professor VanderNoordaaJanuary 27, 2024 at 11:24 AM

    Susie,
    I really enjoyed how you focused on the Imperial Villa at Katsura. Within this study you inform the reader about the importance of Japanese buildings integrating with nature. You shared information about materials, rituals and modular building techniques of the Japanese.
    Make sure you add "One Step Further" to your entries and comment on your peers to obtain full points.
    Total Points: 40/50

    ReplyDelete
  2. Delia T.January 27, 2024 at 7:39 PM

    Susie,
    This was a really in depth and well-written blog focusing on the Imperial Villa at Katsura. You made some really good points about its design and created a vision of this piece of Architecture that could be explained to anyone who knew nothing about it. While you briefly mentioned Japanese culture, I would have loved to see you tie in some other aspects of design throughout its history. However, I like your unique focus and perspective on such an amazing Japanese design, so good job!

    ReplyDelete

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